Bakhtin's Theory of the Literary Chronotope: Reflections, Applications, Perspectives
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The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice. -
The Bakhtin Circle and Ancient Narrative
The limits of polyphony: Dostoevsky to Petronius MARIA PLAZA Stockholm University In times when a theorist grows as authoritative as the Russian thinker Mikh- ail Mikhailovich Bakhtin has grown today, his theories are sometimes hastily applied to more texts than they can usefully explain. While the rereading, and possibly reconception, of the Roman novel in the light of his ideas on the novelistic genre is certainly a most important and exciting project, there may be a risk of overstatement. My aim in this paper, therefore, is to suggest an answer to the question of whether Petronius’ Satyrica can be said to be a “polyphonic novel” in Bakhtin’s sense.1 The concept of “polyphony” is fully developed in Bakhtin’s book Prob- lems in Dostoevsky’s Poetics,2 although there are discussions of the related categories “dialogism” and “heteroglossia” in his important essays of the 1930’s.3 It should be noted, however, that “heteroglossia” is not equivalent to polyphony: it implies a diversity of speech styles in a language, some- times with the further requirement that the styles should reflect and inter- penetrate each other; while polyphony always requires an interpenetration of ————— 1 It is not my aim to offer an exhaustive analysis; rather, I hope to present some examples and general arguments for my suggested solution, in order to make a modest contribution to an ongoing debate about Bakhtin and the classics. 2 The first edition of this work, entitled Problemy tvorchestva Dostoevskogo [Problems of Dostoevsky’s creative art], appeared in 1929, and was a much narrower discussion than the influential second edition of 1963. -
Narrative Epic and New Media: the Totalizing Spaces of Postmodernity in the Wire, Batman, and the Legend of Zelda
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-17-2015 12:00 AM Narrative Epic and New Media: The Totalizing Spaces of Postmodernity in The Wire, Batman, and The Legend of Zelda Luke Arnott The University of Western Ontario Supervisor Nick Dyer-Witheford The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Luke Arnott 2015 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Film and Media Studies Commons Recommended Citation Arnott, Luke, "Narrative Epic and New Media: The Totalizing Spaces of Postmodernity in The Wire, Batman, and The Legend of Zelda" (2015). Electronic Thesis and Dissertation Repository. 3000. https://ir.lib.uwo.ca/etd/3000 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. NARRATIVE EPIC AND NEW MEDIA: THE TOTALIZING SPACES OF POSTMODERNITY IN THE WIRE, BATMAN, AND THE LEGEND OF ZELDA (Thesis format: Monograph) by Luke Arnott Graduate Program in Media Studies A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Luke Arnott 2015 Abstract Narrative Epic and New Media investigates why epic narratives have a renewed significance in contemporary culture, showing that new media epics model the postmodern world in the same way that ancient epics once modelled theirs. -
Mikhail Bakhtin and Discourse on Genre Novel
Int.J.Eng.Lang.Lit&Trans.StudiesINTERNATIONAL JOURNAL OF ENGLISH LANGUAGE, Vol. LITERATURE3.Issue. 1.2016 (Jan-Mar) AND TRANSLATION STUDIES (IJELR) A QUARTERLY, INDEXED, REFEREED AND PEER REVIEWED OPEN ACCESS INTERNATIONAL JOURNAL http://www.ijelr.in KY PUBLICATIONS RESEARCH ARTICLE Vol. 3. Issue 1.,2016 (Jan-Mar. ) MIKHAIL BAKHTIN AND DISCOURSE ON GENRE NOVEL NIYATI KABTHIYAL1, Prof. SUREKHA DANGWAL2 1Ph.D. Research Scholar, Dept. of English & MEOFL, HNBGU, Srinagar Garhwal 2Dept. of English & MEOFL, HNBGU, Srinagar Garhwal ABSTRACT In Western tradition, Socrates frequently employed a method of dialogue in argumentation, which allowed dramatic clash of juxtaposed points of view punctuated by the final word of a single person (interlocutor); and that mode of interaction came to acquire after him the name "Socratic dialogue". His disciple Plato further developed this many-voiced mode in writing, also known as Platonic dialogue; the master piece of which we have in the Republic, manifesting outstanding success of the mode. The ancient practice attracted the attention of Russian formalist and genre theorist, Mikhail Bakhtin, and he used the concept while theorizing his views on the stylistic mode of the new novelistic (artistic-prose) genres vis-à-vis high poetic genres (epic, dramatic, lyric). Bakhtin located in the Socratic dialogues one of the earliest forms of what he termed variously in the novel: heteroglossia and dialogism Kristeva is later believed to have rechristianed these antecedent concepts as intertextuality (Worton & Judith Still 3). The basic property of any discourse Bakhtin locates in dialogic orientation. He perceives dialogism as pervading not only the internal dialogism of the word, but stretching beyond to cover the entire compositional structure of a discourse (Leitch 1091). -
Safran CV for Profile November 2019
GABRIELLA SAFRAN Department of Slavic Languages and Literatures update 11/19 Stanford University Stanford, CA 94305-2006 650-723-4414 [email protected] EMPLOYMENT Assistant Professor, Stanford University, 1998-2003 Associate Professor, Stanford University, 2003-2010 Full Professor, Stanford University, 2010-present Appointed to Eva Chernov Lokey Chair in Jewish Studies, 2011 EDUCATION Princeton University, Ph.D., Slavic Languages and Literatures, 1998. Dissertation: "Narratives of Jewish acculturation in the Russian Empire: Bogrov, Orzeszkowa, Leskov, Chekhov." Adviser: Caryl Emerson Yale University, B.A., magna cum laude, with honors in Soviet and East European Studies, 1990. Senior Essay: "The descent of the raznochinets literator: Osip Mandelstam's 'Shum vremeni' and evolutionary theory." Adviser: Tomas Venclova FELLOWSHIPS AND AWARDS Stanford Humanities Center, Ellen Andrews Wright Fellowship, 2015-2016 Wayne S. Vucinich Book Prize for the most important contribution to Russian, Eurasian, and East European studies in any discipline of the humanities or social sciences (short-listed), 2011 Jordan Schnitzer Book Award in Jewish Literature and Linguistics (Honorable Mention), 2011 Fenia and Yaakov Leviant Memorial Prize in Yiddish Studies (MLA), 2008 Stanford Dean’s Award for Excellence in Teaching, 2007 Center for Advanced Judaic Studies, University of Pennsylvania, yearlong research fellowship, 2002-2003 Best Book in Literary or Cultural Studies, American Association of Teachers of Slavic and East European Languages (shared), 2002 -
Economies of Russian Literature 1830-1850 by Jillian
Money and Mad Ambition: Economies of Russian Literature 1830-1850 By Jillian Elizabeth Porter A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Slavic Languages and Literatures in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Harsha Ram, chair Professor Irina Paperno Professor Luba Golburt Professor Victoria Bonnell Spring 2011 Money and Mad Ambition: Economies of Russian Literature 1830-1850 © 2011 by Jillian Elizabeth Porter 1 Abstract Money and Mad Ambition: Economies of Russian Literature 1830-1850 by Jillian Elizabeth Porter Doctor of Philosophy in Slavic Languages and Literatures University of California, Berkeley Professor Harsha Ram, chair This dissertation offers a sustained examination of the economic paradigms that structure meaning and narrative in Russian literature of the 1830s-1840s, the formative years of nineteenth-century Russian prose. Exploring works by Alexander Pushkin, Nikolai Gogol, Fyodor Dostoevsky, and Faddei Bulgarin, I view tropes such as spending, counterfeiting, hoarding, and gambling, as well as plots of mad or blocked ambition, in relation to the cultural and economic history of Nicholas I’s reign and in the context of the importation of economic discourse and literary conventions from abroad. Furthermore, I consider the impact of culturally and economically conditioned affects—ambition, avarice, and embarrassment—on narrative tone. From the post-Revolutionary French plot of social ambition to -
Chronotope in Western Role-Playing Video Games
CHRONOTOPE IN WESTERN ROLE-PLAYING VIDEO GAMES: AN INVESTIGATION OF THE GENERATION OF NARRATIVE MEANING THROUGH ITS DIALOGICAL RELATIONSHIP WITH THE HEROIC EPIC AND FANTASY A thesis submitted for the degree of Doctor of Philosophy by Eduardo Barbosa Lima Department of Social Sciences, Media and Communication Brunel University London December 2016 Chronotope in Western Role-Playing Video Games: An investigation of the generation of narrative meaning through its dialogical relationship with the Heroic Epic and Fantasy Eduardo Barbosa Lima (1234263) Abstract The development of the video game industry and the increasing popularity of the medium as a form of entertainment have led to significant developments in the discipline of game studies and a growing awareness of the cultural significance of video games as cultural artefacts. While much work has been done to understand the narrative aspect of games, there are still theoretical gaps on the understanding of how video games generate their narrative experience and how this experience is shaped by the player and the game as artefact. This interdisciplinary study investigates how meaning is created in Western Role Playing Games (WRPGs) video games by analysing the narrative strategies they employ in relation to those commonly used in Heroic Epic and Fantasy narratives. It adopts the Bakhtinian concepts of chronotope and dialogue as the main theoretical tools to examine the creation and integration of narratives in WRPGs with a special focus on the time-space perspective. Elder Scrolls V: Skyrim and Dragon Age Origins were chosen as representatives of the WRPG video game genre while Beowulf and the tale of Sigurd, as it appears in the Poetic Edda and the Volsung Saga, were chosen as representatives of the Heroic Epic poetic tradition. -
Bakhtin and Ricoeur 221
Space, Time and Narrative: Bakhtin and Ricoeur 221 Space, Time and Narrative: Bakhtin and Ricoeur Tara Collington In the preface to the second volume of Time and Narrative, Paul Ricoeur’s monumental study of the philosophical, historical and hermeneutic implications of the configuration of time in literature, the author describes the intrinsic paradox of examining what he refers to as the ‘fictive experience of time’: On the one hand, in effect, our temporal ways of inhabiting the world remain imaginary to the extent that they exist only in and through the text. On the other hand, they constitute a sort of trascendence within immanence that is precisely what allows for the confrontation with the world of the reader (1985b:6). In order to explore this complex interaction, Ricoeur (1984b: xi) introduces the concept of three-fold mimesis. Related to the concept of plot, mimesis encompasses three stages in our under- standing of the literary expression of time: ‘a reference back to the familiar pre-understanding we have of the order of action; an entry into the realm of poetic composition; and finally a new con- figuration by means of this poetic refiguring of the pre-understood order of action.’ Ricoeur’s focus on the interaction between the world of the text and the world of the reader as a locus for interpreting the configuration of time in literature calls to mind Mikhail Bakhtin’s essay ‘Forms of Time and of the Chronotope in the Novel’ in which he proposes a new critical and heuristic tool-- the ‘chronotope’--to study the configuration of narrative temporality as it relates to our under- standing of genre. -
How Language and the Carnivalesque Challenge Hegemony
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School March 2019 Language of Carnival: How Language and the Carnivalesque Challenge Hegemony Yulia O. Nekrashevich University of South Florida, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the Rhetoric Commons Scholar Commons Citation Nekrashevich, Yulia O., "Language of Carnival: How Language and the Carnivalesque Challenge Hegemony" (2019). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/7868 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Language of Carnival: How Language and the Carnivalesque Challenge Hegemony by Yulia O. Nekrashevich A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of English College of Arts and Sciences University of South Florida Major Professor: Phillip Sipiora, Ph.D. Victor Peppard, Ph.D. John Lennon, Ph.D. Date of Approval: March 8, 2019 Keywords: dialogue, heteroglossia, Mikhail Bakhtin, utterance Copyright © 2019, Yulia O. Nekrashevich Table of Contents Abstract .......................................................................................................................................... iii Foreword ..........................................................................................................................................1 -
Bakhtin's Theory of the Literary Chronotope: Reflections, Applications, Perspectives
literary.chronotope.book Page 3 Tuesday, May 4, 2010 5:47 PM View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Hochschulschriftenserver - Universität Frankfurt am Main BAKHTIN'S THEORY OF THE LITERARY CHRONOTOPE: REFLECTIONS, APPLICATIONS, PERSPECTIVES Nele Bemong, Pieter Borghart, Michel De Dobbeleer, Kristoffel Demoen, Koen De Temmerman & Bart Keunen (eds.) literary.chronotope.book Page 4 Tuesday, May 4, 2010 5:47 PM © Academia Press Eekhout 2 9000 Gent T. (+32) (0)9 233 80 88 F. (+32) (0)9 233 14 09 [email protected] www.academiapress.be The publications of Academia Press are distributed by: Belgium: J. Story-Scientia nv Wetenschappelijke Boekhandel Sint-Kwintensberg 87 B-9000 Gent T. 09 255 57 57 F. 09 233 14 09 [email protected] www.story.be The Netherlands: Ef & Ef Eind 36 NL-6017 BH Thorn T. 0475 561501 F. 0475 561660 Rest of the world: UPNE, Lebanon, New Hampshire, USA (www.upne.com) Nele Bemong, Pieter Borghart, Michel De Dobbeleer, Kristoffel Demoen, Koen De Temmerman & Bart Keunen (eds.) Bakhtin's Theory of the Literary Chronotope: Reflections, Applications, Perspectives Proceedings of the workshop entitled “Bakhtin’s Theory of the Literary Chronotope: Reflections, Applications, Perspectives” (27-28 June 2008) supported by the Royal Flemish Academy for Sciences and the Arts. Gent, Academia Press, 2010, v + 213 pp. ISBN 978 90 382 1563 1 D/2010/4804/84 U 1414 Layout: proxess.be Cover: Steebz/KHUAN No part of this publication may be reproduced in print, by photocopy, microfilm or any other means, without the prior written permission of the publisher. -
Education at the Boundary? Time and Space: the Chronotope
Circles, borders and chronotopes: Education at the boundary? Paper submitted for peer review to PESA Conference 7-10 December 2012 Taiwan Jayne White University of Waikato, New Zealand [email protected] One must not… imagine the realm of culture as some sort of spatial whole, having boundaries but also having internal territory. The realm of culture has no internal territory: it is entirely distributed along the boundaries, boundaries pass everywhere, through its every aspect, the systematic unity of culture extends into the very atoms of cultural life, it reflects like the sun in each drop of that life. Every cultural act lives essentially on the boundaries: in this is its seriousness and its significance; abstracted from boundaries, it loses its soul, it becomes empty, arrogant, it disintegrates and dies (Bakhtin, 1999, p. 301). Bakhtin's vision of the "systematic unity of culture" being defined by its boundaries can be extended to the notion of chronotope – a "systematic unity" of time, space and an axiology. Holquist (2009) suggests that chronotope lies at the very centre of knowledge creation, since what is valued in one place and time is bounded in its meeting of „other‟ another. The coordinates of time and space, therefore, are both ideologic orientations and ways of understanding human experience. Central to chronotope is the idea that an individual or culture can, and will, go beyond its own bounds with the additional insights of „other‟. Based on Bakhtin's own chronotopic boundary meetings as a member of at least three „circles‟ of scholars, artists and thinkers early last century, this paper makes the claim that one doesn't merely „cross‟ boundaries, as if one could neatly fit into another set of axiologies and ideologies with minimum effort or minor adjustment. -
Mikhail Bakhtin's Appropriation in the West And
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2009 Mikhail Bakhtin's Appropriation in the West and a Needed Return to Primary Texts: A Review of Authoritative Criticism and a Return to the Idyllic Chronotope in Jude the Obscure Alaina Hohnarth Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the English Language and Literature Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/13 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Mikhail Bakhtin’s Appropriation in the West and a Needed Return to Primary Texts: a Review of Authoritative Criticism and a Return to the Idyllic Chronotope in Jude the Obscure A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Commonwealth University Alaina Hohnarth Master of Arts in English Virginia Commonwealth University August 2009 Chapter 1: “Encountering Mikhail Bakhtin and Thomas Hardy: Controversy, Censorship, and Scholarly Convergence” Mikhail Mikhailovich Bakhtin was born in Orel, Russia on November 17, 1895, the same month that Thomas Hardy’s last and most controversial novel, Jude the Obscure, appeared in volume form in London and New York. And when Hardy died in London in 1928, Bakhtin was a university student in Moscow finishing up his dissertation on Rabelais. Different continents and half a century indeed separate Bakhtin and Hardy from one another, but both have shared similar fates as authors of theory and fiction.